As you all have probably heard by now, Dhoom is unique in one way; it strays from Yashraj Films’ nature in making films. With recent releases as evidence (Mere Yaar Ki Shaadi Hai, Mujhse Dosti Karoge and Hum Tum), films from the Yashraj House automatically get stamped as the lovey-dovey romances that never offer any raw “excitement". Well, with Dhoom, producer Aditya Chopra and director Sanjay Gadhvi have debunked that myth as they have created an out n’ out action packed adventure film. Fixed around the theme Biker Boyz, Dhoom has a hot star-cast, featuring Abhishek Bachchan, John Abraham and Uday Chopra, all who seemingly fit the screen perfectly. In addition, Esha Deol and Rimi Sen are part of the cast crew as well.
In terms of music, Yashraj never shy away from the romantic number, surprisingly all of their soundtracks are recieved very well by the masses. Will the change in cinematic theme change the course of their musical appeal? Pritam, who doubled with Jeet in their last musical, Mere Yaar Ki Shaadi Hai, composes this group of songs on his own. His lyrical partner is Sameer.
Pritam kick starts the soundtrack with the title piece, Dhoom Machaale. Sung by Sunidhi Chauhan with vibrancy and vitality along with Pritam’s powerful and energetic composition, Dhoom Machaale makes for a nice dance floor piece. I personally love Pritam’s melody with the synthesizer in the beginning, which was rehashed throughout the piece with the flute. Unfortunately, Sameer’s lyrics are very unoriginal and incapable of raising this song into the hit category. So we have it, from the very beginning of this album, the change in Yashraj’s music is quite evident; luckily, the change does not alter the quality, as this piece has what it takes to be stamped with a good label. Verdict: Good
The next piece, Shikdum, is by far the best song that Pritam has to offer. After their immense success in last year’s beauty, Jaadu Hai Nasha Hai (Jism), Shaan and Shreya Ghoshal come together once again, although this time they switch from the seductive mode to the playful mode. Their on-audio chemistry is superb and Pritam alters their vocals just enough to raise the enjoyment level of this number. His light-hearted composition and very catchy melody allow for Shaan and Shreya to let their vocals play together beautifully. Sameer’s lyrics lack authenticity once again (excluding the word shikdum), but there is still something very subtle in his words that draw you to the piece even more. Give this one a few listens to grow on you, you won’t regret it! Verdict: HIT!
Next in line we have the semi-tapori Dilbara. Rendered by Abhijeet, this piece has a tapori feel to it yet still has that filmi touch. The best part of this track would have to be the very beginning. Pritam plays around with some unusual percussions and creates a rather unique sound that’s pretty easy on the ears. His use of the flute throughout provides for a nice musical break from Abhijeet’s rendition. Sowmya Rao takes care of the female lead and, similar to Abhijeet, just barely fits the bill. Sameer once again fails to muster up anything new. Well, I take that back, “Dilbara O dilbara, apun ki tu, apun tera.” That line is vaguely new, but horrible! Regardless, Pritam does a nice job in his musical rounds, but the melody, the vocals, and definitely the lyrics are not up to par. Verdict: Average
The next track carries the energetic vibe that Pritam is emitting. Salaame is a latin / salsa number that will make you shake a leg or two. It’s evident of the change in musical genre from the opening lines of the track: “Me gusta mucha baila baila. Quiero samba quiero salsa…” Translating to “I like to dance. I want to sambe, I want to salsa.” This piece is sung with force by Kunal Ganjawala and Vasundhara Das; each of whom are basking in the glory of popularity, Bheege Hont (Murder) and Chale Jaise Hawaaein (Main Hoon Na), respectively. Pritam does a good job in bringing the Latin feel to the piece with the Spanish drums and percussions. In accordance, both vocalists live up to the challenge nicely. Lyrically, Sameer does a better job. Comparatively, his words are very similar to those of Javed Akhtar’s in Chale Jaise Hawaaein. Nevertheless, this song passes as another above average song. Verdict: Good
The next track is the second best song of the basket, The Bedroom Mix of Shikdum. Pritam changes his singers this time to K.K., Gayatri Iyer, and the rapper, Indee. It’s obvious when listening to this one that the emphasis was put on the additional beats that were added on by Pritam. The piece is definitely more energetic than it’s original but the original is just a tad bit more enjoyable, due in part to the chemistry and vocal prowess of Shaan and Shreya. Don’t get me wrong, K.K. and Gayatri Iyer do a fantastic job in keeping up with the beat as well. The lyrics by Indee are naturally going to appeal to the youth, if even that. Filled with vulgarity, this is definitely not the best rap we’ve heard! Regardless, a great rehash of the original, The Bedroom Mix! Verdict: Hit!
Dilbara is featured once again in this album. The only difference is a small alteration in composition (a few beats added on here and there) and Abhishek’s smart comments throughout the song. This one will probably appeal more since Abhi’s peanut-gallery remarks are sure to crack a smile or two. Verdict: Once again, Average
Pritam closes out the album with an international touch to it. Featuring the international singer, Tata Young, Dhoom Dhoom is filled with English lyrics supplied by Asif Ali Baig. An out n’ out western track, one can breath a sigh of relief as this piece doesn’t boast of any meaningless and crude rap. The music by Pritam is excellent! Appropriately ending on the sound of a dhoom, this piece carries a western influenced touch that will definitely appeal to the youth. Due to the lyrics, the song fails to fly high. In comparison to the other international pop song this year, Richi Rich’s Mere Dil Vich hai Hum Tum (Hum Tum) a.k.a. U’n’l, this piece pales. Although this song remains a level or two under U’n’l, it will still go down well with the masses, mainly for the sole fact that it features Tata Young. Verdict: Good
All in all, Dhoom is a good album. Coming back to the question I had posed earlier…The change in musical and cinematic theme fortunately did not modify the course of quality that is possessed by Yashraj Films. Pritam does a relatively better job than he did with Jeet in MYKSH. With a couple of average tracks, a few good tracks, and a couple more hit tracks, Dhoom is definitely worth a buy, if not only for Shikdum. Obviously this soundtrack could have been much better, but who would want to miss out on an album that accompanies a film that is first of its kind?